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Musical Courier 1892-06-15: Vol 24 Iss 643, 1892
107 lines. Read by computer on 22 September 2026. Printed page 7. See the scan on archive.org.
1THE RACONTEUR.
3To the early bird belongs the vermituge.
4—Asiatic Proverb.
6Première of Mascagni's "L'Amico Fritz."
8I CAUGHT the train nevertheless and could not help reflecting that while Gotham was reveling in comic operettas the sober city of Brotherly Love took its pleasures more seriously and earnestly. Every season that indefatigable worker and sincere art lover Gustav Hinrichs wields the baton at the North Broad Street Opera House until the dog star pales before the chill equinoctial blasts. All sorts of operas from "Tannhäuser" to "Trovatore" are sung, and well sung at that. The company is a fairly strong one and its ensemble work is excellent. Handsome Cholmondeley Jones, not a whit older than the merry days when he helped to tool the American Opera coach, put me in a good seat and I assure you a more comfortable or cooler opera house doesn't exist in this country. It is the paradise of long legged people, for the aisles are wide and the seats roomy.
10The cast of this first performance in America of "L'Amico Fritz" was as follows:
12"Suzel" …………………………………………..Selma Koert-Kronold
13"Fritz" ……………………………………………..A. L. Guille
14"Beppe" ……………………………………………Clara Poole
15"Rabbi David" …………………………………….G. Del Puente
16"Hanezo" …………………………………………..Richard Karl
17"Frederico" ……………………………………….Charles Storey
18"Caterina" …………………………………………..Henrietta Dreyer
20As if to make amends for his pessimistic treatment of marriage in low life, Mascagni gives us in his second operatic opus a picture of rustic courtship which is as pure, simple and unaffected as "Cavalleria Rusticana" is passionate and melodramatic.
22The lovers in "L'Amico Fritz" are a musical "Paul" and "Virginia," with the island left out. They are moved by the most primal impulses, and if there is a taint of modernity or artificiality in the opera it is in the orchestra, for Mascagni, true to his hot blooded dramatic instincts, sometimes breaks a butterfly on a wheel.
24The opera is almost as innocuous in plot as a Henry James novel, but the tenuity of the story is more than compensated for by the orchestra, which plays a most important part in this modern musical comedy, for comedy it is, though not in the better sense of that much abused word.
26"L'Amico Fritz" follows closely the play by Erckmann and Chatrian. The book is by P. Suardon, done into English by Willard G. Day. It opens with the scene in "Fritz's" house upon his birthday; the loan to the old Rabbi Sichel, who is called "David" in the opera, and his talk about marriage; the visit of the friends, including the gypsy boy; "Suzel's" gift of flowers and the pretty little scene with her; the "Rabbi's" denunciation of the young man's materialism and his praise of domestic love, and finally a procession of orphans whom "Fritz" has befriended and whose chorus outside the window with an Alsatian march closes the act. This march is about the only bit of local color in the whole work.
28The second act passes at the farm, precisely as in the play, with the charming scene between "Suzel" and "Fritz," the "Cherry duet," the "Rabbi's" scene with "Suzel" at the well and the recital of the story of Rebecca, the old man's determination to have the pair married and "Fritz's" abrupt departure, politely inviting his aged friend to go to the devil.
30In the third act, by skillfully arousing "Fritz's" jealousy, the "Rabbi's" matchmaking is finally successful and brings about the love duet, one of the best bits of writing in the opera.
32"L'Amico Fritz" is a pastoral pendant to "Cavalleria Rusticana," but in it the turbulence of Mascagni has become clarified, his intensity better pointed and his musical themes handled with more mastery and skill. His orchestration is more than a step—it is a jump—in improvement, though far from all that could be desired. But in delicacy of color, appositeness of selection and sobriety and restraint it is almost like the work of another and a stronger man than the impetuous composer of "Cavalleria Rusticana."
34The short prelude is not particularly noteworthy, though it is redolent with pastoral feeling, the woodwind being peculiarly well handled.
36"Suzel's" flower song first attracts one's attention, being the stammering utterances of a poetical and simple minded maiden. The violin solo, which is nothing but the transcription of a gypsy melody, is followed by the entrance of "Beppe," who sings a characteristic though not strikingly original solo.
38The best thing in the first act is "David's" fierce denunciations of the idle, aimless life of "Fritz," and in it the old Mascagni, who has been gracefully slumbering so far, awakes and gives one a taste of his old time quality. It is a most impressive aria with suggestions of "Cavalleria" and even "Carmen." It is vigorous and full of meat. Then follow a chorus and a march, and all develops into a very striking finale. Were it not, however, for ingenious orchestration the march would be rather cheap in effect.
40The second act, as a whole, is the best of the opera. It is truly pitched in the most idyllic key, and not a false note mars the musical atmosphere. It is daybreak. "Suzel" is alone on the stage, while in the faint distance a chorus is heard, accompanied plaintively by an oboe. This scene breathes the purest sentiments of the open air, and is as tender as a Virgilian eclogue.
42The cherry duo has been given in this city as an excerpt in the concert hall. To say that in that guise it loses nearly all its beauty is indeed to praise it highly. It is a charming spring song, dainty and impassioned.
44"Suzel" then sings to "David" the story of Rebecca at the well, and the act closes with an effective finale, the distant chorus is heard, and the curtain falls on "David" and "Suzel," the latter in despair at "Fritz's" feigned indifference.
46The intermezzo that precedes the third act is a very clever piece of musical workmanship, though not destined to tickle the popular ear like its famous and banal predecessor in the "Cavalleria Rusticana."
48But it is ever so much better from a sound musical view point, and its dramatic intensity and shuddering abandonment would show to better advantage if it were boldly transposed to the "Cavalleria," for it introduces an alien atmosphere into this bucolic, timid love story.
50It is Hungarian in character and coloring, and might be one of those wild gypsy rhapsodies that Remenyi delighted in of yore.
52There is another pretty song for "Beppe," a romance for "Fritz," a lament for "Suzel" and the effective love duet, in which Mascagni has let herself loose, the result being simply superb. The septet that follows is an anti-climax that is dramatically false. One longs for the curtain after the duet, for what follows in the matter of explanation is, so far as the opera is concerned, a superfluous impertinence.
54One looks for local color in "L'Amico Fritz," but only in two instances does it occur.
56The work might have been penned by a Hungarian with the Italian gift of melody. It is almost as Magyar as Sma-reglia's "Vassal of Szegeth," which was, strangely enough, composed by a Greek.
58So much for the theory of musical environment.
60In style "L'Amico Fritz" is modern Italian, with at times a faint suggestion of Wagner and abundant traces of Bizet and Gounod. Indeed the orchestration is decidedly Gallic at times, especially in the treatment of the woodwind.
62Mascagni handles the dialogue admirably, naturally and at times forcibly.
64In this Mascagni is a realist up to date. No conventional musical impedimenta occur, even the gypsy violin solo (played on this occasion by the concert master of the orchestra, Mr. Voelker) has its value in the musical tale.
66It is in the arioso style, with a sustained orchestral accompaniment. The orchestral palette, which in "Cavalleria" was overladen with the most glowing pigments, is in this work tempered by taste and judgment. The chorus is barely admitted, and nothing distracts the action of the story.
68That "L'Amico Fritz" will not attain the popularity of its predecessor goes without saying. Free from sensational ingredients, it appeals to the educated ear only. Indeed, much of the music is hyper-refined and too much worked over, and one fears at times for the talented young composer's naturalness and simplicity. To fully enjoy Mascagni's versatility, "L'Amico Fritz" and "Cavalleria Rusticana" should be given in one evening, for the new work is not lengthy and the contrast would be delightfully refreshing.
70Mascagni's talent is not that of Verdi's, but it contains a measure of that great man's impetuous virility, and while "L'Amico Fritz" is not a striking work it is, nevertheless, a most charming one.
72The work is more unified than "Cavalleria," and if it had but that divine naïveté and sense of restfulness that the old masters knew so well how to present it would indeed be a masterpiece, but the fierce, nervous strain of modern life finds echo in "L'Amico Fritz," and one wishes at times the composer would stop his emotional wriggling and sit still. The prediction made by Arthur Mees at the first performance of "Cavalleria" may come to pass—over subtle refinement of rhythm and harmony may prove a Scylla and Charybdis for Mascagni's hot blooded talents. Temperament he has, and possibly when he controls it, reins himself in—in a word, has the faculty of self repression—then will the world cry aloud: "How he has fallen off! How tame!" So let us enjoy your young blood, Pietro Mascagni, and to the devil with the knave who preaches of pale virtue.
74As to the performance, it had all the shortcomings of premières, and much that was good besides. Gustav Hinrichs deserves to be ranked now among the best of our operatic conductors, and his skill and training stood him in good stead at this performance last Wednesday evening. He conducted with energy and an evident appreciation of the beauties of the score, which makes most exacting demands on both singers and instrumentalists, by reason of its curious intervals, odd and often strained harmonies. The part of "Suzel" does not suit Koert-Kronold as did "Santuzza," of which rôle she was the original in this country, and a part that fitted her like a glove. But she sang with fire and true musical feeling and acted the naive village maiden excellently. Del Puente was a fine "David," his make-up being evidently suggested by Ernst Possart. He acted and sang most artistically. Mr. Guille was also very acceptable, and Clara Poole, as usual, did good work, her solo in the first act being redemanded. The chorus was shabby and the orchestra not altogether up to the mark, several lapses of intonation occurring in the woodwind. For a première, however, it was a good piece of work and reflects credit on all concerned, and also on the enterprise of Manager Kelly in giving the opera a first hearing in this country.
76How different was the first performance of "King Kaliko," at the Broadway Theatre, Tuesday evening of last week. (Music by "Teddy" Solomon and the book by Frank Dupree.) The whole thing stuff and nonsense without even the coherence of a nightmare. Little wonder "Robin Hood" is playing to big houses at the Garden Theatre. It is a "Tannhäuser" compared with "Kaliko," which the united efforts of Stevens et al., including the Coco dance, can hardly keep afloat. Welcome "Wang," with all your pachydermatus humor, or, better still, "The Lady of the Tiger," which lengthy De Wolf Hopper intends reviving. The only difficulty with the latter work is who will play the part of the "Prophet," which was inimitably portrayed by Jeff de Angelis at Palmer's Theatre? Mr. Hopper must be feeling better to-day, for he is about due in Europe.
78I wonder what dainty Della Fox's feelings were at the first night of "King Kaliko" to see herself and hear herself so ruthlessly caricatured by Miss Clara Lavine? She relieved her stifled feelings, I noticed, by throwing all the flowers she had in the box at her weird double; but whether in anger or sorrow I'm unable to judge. There is but one Della Fox and De Wolf Hopper is her prophet!
80"The Primrose Path of Dalliance," a story of the stage (Lew Vanderpoole & Co., New York), is Mr. Wheeler's latest venture into fiction. If the great Andrew could but infuse but one-tenth of the brilliance which may be found in his essays into his novels they would sputter with all the boreal fires of the North, but he doesn't, and "The Primrose Path" will only prove interesting to newspaper men and some stage people. Mr. Wheeler has taken up a group of his old associates like the lamented Cazuran, Steele Mackaye, Hugh Craig, poor Frank Saltus, Maurice Barrymore and a lot of others and made them talk, theorize and quarrel as in the days of yore at the Union Square Hotel café. Intensely local, with here and there flashes of paradoxical wit in the true Nym Crinkle fashion "The Primrose Path" may prove interesting reading, but not to theatrical folk, who will naturally resent many of the unpleasant things within its covers. It also contains some agreeable dashes at musical people.
82This irrelevant but wholly humorous clipping is from an exchange which shall be nameless:
84A sweet girl of my acquaintance says that she is pining to know the "Raconteur" in THE MUSICAL COURIER. "He is such a lovely refutation of the theory that women are the vain sex." She explains: "The man goes around with a pocket mirror, else how should he be able to 'Quoth I, with a dangerous fire in my eyes.' Now, just imagine a woman going about taking mirrors out to see how her eyes looked when she thought she said something sharp."
86If the "sweet girl" only knew how beautiful the "Raconteur" really was she would understand why he carries the pocket mirror, and she might also be tempted to make the long journey from her native place to New York merely to gaze upon him and worship afar from the shrine.
88Special rates to pilgrims (particularly if they are good looking). Let us pray!
90Have you been roof gardening yet? It is a pretty botanical sport, and the Casino and Madison Square Garden are both good places to flee the heat.
92WANTED—A first-class soprano soloist desires a position in a church choir; has had ample experience. Address L. B., care of this office.
94(Inc. May 1, 1891.)
96NEW YORK VOCAL INSTITUTE.
98FRANK HERBERT TUBBS, Musical Director.
10097 Fifth Avenue, New York City.
102COMPLETE EDUCATION IN VOCAL MUSIC.
104Singers naturally prefer study where Voice Culture and Singing receive chief attention. All the teachers use the same method. Homes selected for pupils. Circulars sent on request.
106NEW YORK VOCAL INSTITUTE, 97 Fifth Avenue.
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